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Bride of Re-Animator

Bride of Re-Animator

Horror · Comedy · Science Fiction · 1990

Unperturbed by the disastrous outcome of his previous meddling with the dead, Dr. West continues his research into the phenomenon of re-animation; only this time, he plans to create life – starting with the heart of his young protégé Dan's dearly deceased Meg Halsey.

Movie details

Bride of Re-Animator

“Date. Mate. Re-animate.”

1990 Horror · Comedy · Science Fiction 1h 36m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

Unperturbed by the disastrous outcome of his previous meddling with the dead, Dr. West continues his research into the phenomenon of re-animation; only this time, he plans to create life – starting with the heart of his young protégé Dan's dearly deceased Meg Halsey.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Bride of Re-Animator?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Re-Animator

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Sci-fi · 1985

Conducting clandestine experiments within the morgue at Miskatonic University, scientist Herbert West reveals to a fellow graduate student his groundbreaking work concerning the re-animation of fresh corpses.

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Names above the title

The people responsible.

Directed by

Brian Yuzna

Written by

Woody Keith · Rick Fry · Brian Yuzna

Jeffrey Combs

Jeffrey Combs

Dr. Herbert West

Bruce Abbott

Bruce Abbott

Dr. Dan Cain

Claude Earl Jones

Claude Earl Jones

Lt. Leslie Chapham

Fabiana Udenio

Fabiana Udenio

Francesca Danelli

David Gale

David Gale

Doctor Carl Hill

Kathleen Kinmont

Kathleen Kinmont

Gloria

Mel Stewart

Mel Stewart

Dr. Graves

Court is in session

Put Bride of Re-Animator on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Prestige Tourist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.